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PALE NORDIC ARCHITECTURE Why Are Our Walls So White?

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PALE NORDIC ARCHITECTURE Why Are Our Walls So White? PALE NORDIC ARCHITECTURE Why are our walls so white? BATCHELOR’S THESIS SISKO ANTTALAINEN AALTO UNIVERSITY PALE NORDIC ARCHITECTURE – WHY ARE OUR WALLS SO WHITE? – ABSTRACT The aim was to investigate the perception of whiteness in Nordic architecture and analyse the rea- sons behind the pale colour scheme in a public space context. The word pale was used alongside with white, since it gave broader possibilities to ponder over the topic. The geographical research area was framed to cover Sweden and Finland, although the search for underlying reasons extended beyond the borders of the North. Architecture was viewed as an entity, including both exteriors and interiors. The focus was on reasoning around the question “why” to arouse professional discourse about the often-unquestioned topic. Analysing the background of a commonly acknowledged phe- nomenon strives to make architects more conscious of the background of their aesthetics so that future decisions can be based on a more complex set of knowledge rather than leaning on tradition. Because of the wide demarcation of the research question, the project started with self-formulated hypothesis, after which they were thoroughly analysed. The formulated pre-assumptions were, that the Nordic paleness is, firstly, a consequence of misinterpreted past architecture. Moreover, natu- ral circumstances of the North, the symbolism connected to white and the tradition of canonising modernism were established as hypothesis. Lastly, architect education, combined with the tendency of prototyping with white materials were assumed to endorse the pale colour scheme. The misinter- pretations’ possible implication in the perception of whiteness was also examined as a part of the re- 1 search. Justification for the hypothesis was found, although broad framing meant that the reference 2 material was splintered. Personal reflection was used as a means for cohesion. The paper includes a concise artistic element in the form of an introductory poem to each chapter. Keywords: Nordic architecture, interior architecture, white, colour scheme Language: English Year: 2018 Pages: 38 Batchelor’s thesis Sisko Anttalainen Aalto University, School of Arts, Design and Architecture Department of Design Batchelor of Art in Interior architecture and Furniture design Supervisor: Antti Pirinen Instructor: Sergio Montero Bravo PALE NORDIC ARCHITECTURE – WHY ARE OUR WALLS SO WHITE? ABSTRACT TABLE OF CONTENTS ABSTRACT TABLE OF CONTENTS 1 FROM WHERE I STAND 5 – INTRODUCTION 2 WHITE STANDS FOR 9 – SYMBOLISM AND ASSOCIATIONS CONNECTED TO WHITE 3 PENDULUM OF MISINTERPRETATIONS 13 – HISTORY AND TRADITION OF WHITE ARCHITECTURE 4 REFLECTIVE SURFACES WANTED 19 – NATURAL CONDITIONS OF THE NORTH 3 4 5 FROM A WHITE BOX WHITE BOXES WILL OCCUR 23 – ARCHITECT EDUCATION AND WORK METHODS 6 CLOSING THE WHITE DOOR 29 – CONCLUSION 7 REFERENCES & PHOTOCREDICTS 34 Picture 1. White colour is seen to be neutral and white light con- THANKS tains all the colours of the spectrum. White is also the liturgic colour of The Divine in Christianity. PALE NORDIC ARCHITECTURE – WHY ARE OUR WALLS SO WHITE? TABLE OF CONTENTS 1 FROM WHERE I STAND – INTRODUCTION Nordic architecture is commonly perceived as white. It is part of the appeal that is connected to the minimalistic Scandinavian design style. Whether the domestic interiors are as white as assumed is hard to measure. Nevertheless, given the fact that we, architects and interior architects, design for users, I consider the public’s common view of the prevailing whiteness a relevant starting point for my thesis. The same pre-assumption has, for example, been used earlier by Mark Wigley (2001) in My walls are as pale as my skin. the book White Walls, Designer Dresses, where he discusses the whiteness in modernist archi- What does that make me? tecture throughout clothing rhetoric, and Henry Plummer (2012) in the book Nordic light Modern Scandinavian architecture. Since Finland is not part of Scandinavia, I will define the Nordic countries as my geographical context, although the search for underlying reasons extends beyond the borders of the North. Mainly Finnish and Swedish references are showcased, and when the word “our” is used it refers to this context. The photographs used as illustration are mainly from my personal files, to showcase the familiarity of the discussed topic. Even though white walls are the most visible materialisation of the topic, I consider “white” being too limited of an expression for describing the subject alone. Instead, I will call the phenomenon concerned “Pale Nordic Architecture” and will attempt to answer the question: Why are our walls so white? For example, the architect Alvar Aalto used much white in his works but they also con- 5 tained a whole scale of muted tones and blonde wood (picture 3). Due to the broad demarcation of 6 the research question the referense material is collected from several keysources. Aforementioned publication from Plummer, for example, is used to proof that Nordic conditions lead for their part to the pale colour scheme. Moreover, Kenya Hara’s (2010) book White is used as inspiration in chapter two examining white’s symbolism, whereas comparing differences between Nordic and American schooling with the architect Michael Dudley (2018) is the basis for debating architect education’s impact on the topic. The paper contains plenty of personal reflecting to glue the broad framing together. Each chapter starts with an aphorism or a poem to introduce the upcoming theme. In the domestic environment, one can customise the surroundings according to one’s personal lik- ing, but in architectural practices the wider impact is accomplished in the context of public space. Therefore, I will define public spaces as an area of interest in this study. The different natures of public spaces make their life cycles remarkably varying, and it is easier to find colourful public spaces where the lifecycle is shorter and more dictated by fashion. For example, in restaurant de- sign fashion colours seem to come in relatively often. That is to say that I am not declining the existence of bolder colours within the framing of this study. Yet, all the schools I have ever studied at during my almost two-decade long study path, have been notably pale in their interior. Interest Picture 2. Vita Havet and an exhibition by Jonas Karén and Sanna Laaban. to this thesis topic aroused during my exchange year at Konstfack, University of Arts, Design and Crafts, in Stockholm. The surrounding white walls are notably in contrast with the colourful pieces PALE NORDIC ARCHITECTURE – WHY ARE OUR WALLS SO WHITE? BATCHELOR’S THESIS – SISKO ANTTALAINEN that Konstfack’s students produce. I became to wonder, if the white walls are reflecting the school’s image for what is really is. Knowledge is crucial whenever there is the will to make conscious decisions. Although there seems to be an agreement of the Scandinavian whiteness, the question ‘why’ still remains under a veil. Maybe the lack of study on the reasons behind the pale colour scheme is a consequence of the qual- itative definition. I consider the topic being relevant in its timeless essence. Whiteness appears to emerge in our built environment time after time, even when the nature of interiors is not permanent (Aaltonen 2010, 20). I think, that the question of local identity and recognisable characteristics is, furthermore, an interesting one in relation to the ever-globalising world, where cultures are more mixed together. What is worth maintaining and what ideals are we prepared to give up? In this study, I will parse pre-assumed hypothesis of the reasons behind the paleness simultaneously analysing and contextualizing through various historical and aesthetic references. I attempt to dis- tinguish and categorise different factors behind the paleness and draw clear strands from them. I aim to impact architects’ consciousness of their aesthetics and make them question why. I will not sep- arate architects and interior architects if the reference material does not clearly delineate since both 7 practitioners influence public interiors. Besides the profession of the interior architect is remarkably 8 young (Aaltonen 2010, 15; 96) considering the framework of this study. Interiors, however, have coexisted alongside the exteriors at least as long as there has been human built environment. The topic may give an impression of a biased view, since the word pale may be negatively loaded, referring to something inferior or unimpressive, but the word is used as a conscious rhetoric device. I want to question the background of my personal and professional aesthetics, which is naturally drawn to the lighter tones. I want to arouse a discourse within the field of the importance of colours Picture 3. Bedroom from Alvar Aalto’s home located in Helsinki. and the education surrounding them. Picture 4. Exhibition at Konstfack. The white walls and generous ceiling height is often utilised. PALE NORDIC ARCHITECTURE – WHY ARE OUR WALLS SO WHITE? FROM WHERE I STAND – INTRODUCTION 2 WHITE STANDS FOR – SYMBOLISM AND ASSOCIATIONS CONNECTED TO WHITE “The spectrum of white” The most identifiable characteristics in the pale architecture of the North is probably whiteness, especially shown on white walls. The architect Henry Plummer (2012, 14 – 43) seems to make the White is the colour for the virgin bride to wear, same assumption dedicating the first chapter in his book Nordic Light: Modern Scandinavian the colour of innocence. Architecture to whiteness. When listing the associations and symbolisms connected to the colour It is the colour of pure fresh bed sheets, clean towels and underwear, white in the western world – neutral, divine, pure to mention a few – it is not hard to see why: They the colour of the shiny 20 x 20 tiles and the toilet seat and the washbasin. are positive almost without exception. Different meanings and interpretations are often so close White is the colour for anything tidy.
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